Maybe he (Frank Ocean) didn’t mind because we were headed somewhere that he was actually excited to go, a garage in North Hollywood, where a vintage 1990 BMW E30 sedan is being rebuilt to his exact specifications. He likes to show up unannounced, just to see if they’re working on his car, and as soon as we got there, Ocean jumped out and headed to the back of the shop. The car was indeed up on a lift, and as he circled it, he began to tick off things that he didn’t like. He’s 25, but he speaks like somebody who expects to be listened to. His managers, Christian and Kelly Clancy, told me the night before — by way of explaining that anything could happen, or not, interview-wise — that Frank Ocean makes the decisions where Frank Ocean is concerned. They help him steer, but he goes only if he wants to. He pointed to the shiny metallic exhaust tips that were about to be welded at the back of the car and said: “No. Black. I don’t want it shiny.” Perfectly courteous, but firm. A technician removed the tips. When he made it around to the front of the car, he noticed a piece of black metalwork with an insignia on it. “What’s up with the language?” he asked. “Do we need the language on it?” The owner of the garage said he could get Ocean a plain black one, but he didn’t think it was necessary because once the engine was complete you’d never see it. “It doesn’t matter if you can see it,” Ocean said.
There is a lesson in this. It really doesn’t matter if you can see something or not - everything you put into your art or another person, into anything at all, will sooner or later make itself felt. Great life advice, great art advice. I wish someone gave it to me ten years ago to save me some time and pain, but hey, maybe I can do that for you right now by stating this.
— David Cage
- Eisner: Joe, Let me ask you, just as a closing, about the ultimate goal of this medium.
- Kubert: You're doing it now. We've talked about it several times. I do feel I'm coming closer and closer, time-wise. Every one of us who draws exposes ourselves. Our work reflects that which goes on inside of us. What you're doing is the ultimate exposition: a personal point of view. You've opened yourself up completely, and that's scary.
- Eisner: Are you talking about A Contract with God?
- Kubert: Yes.
- Eisner: I found that very, very hard to do, because all my early years I was hiding behind a guy with a mask. I always did speak candidly about my opinions on life, but never about me. I'd like to see more of the meaningful material coming out, because the more of it there is, the more of an acceptance or a market... Ugh! I hate to use that word "market"!
- Kubert: I know what you mean.
— Bernie Mireault
— Federico Fellini (via visenyatargaryen)
— Omar Rodriguez-Lopez. He’s talking about his process in the studio, but it kind of works for writing too.
— Robert Bresson.